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Cinema 135 > Exam [Post Midterm portion] > Flashcards

Exam [Post Midterm portion] Flashcards

1
Q

Two optical toys before cinema

A

Phenakistocope [paddle held before a mirror-audience looks through hole and spins it]

and zoetrope [still images on inner walls of circle, look into slits to see animation.]

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2
Q

Motion photography

A

Eadweard Muybridge

landscape photographer, Stanford hires him to prove horse bet- Muybridge gets horse to run past sixteen cameras.

Muybridge got Motion into Still images

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3
Q

Photographic gun

A

sequence of images not motion, flexible strip, becomes motion photography

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4
Q

Magic Lantern

A

early 19th century, large slide projector with audience [theatre] illustrated lectures and storytelling

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5
Q

Zoopraxiscope

A

combines two principle toys {phenakistocsope and zoetrope} and the figures were then colored in. Discs with still motion once run through machine were reanimated

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6
Q

Kinetocope

A

Thomas edison in 1894, thinks he can take disc limitations out of Marey’s invention- box you look into
Taller box you look into with rows of winding tape

demonstarted at worlds fair
opens up parlors, which go out of business in a year because they cant produce enough new content.

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7
Q

Cinematographe

A

By Lumiere brothers, 1895

combines all ideas, including having its back as a magic lantern.
flexible film strip and brings STILLS INTO MOTION

first screening is of workers shown to those workers

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8
Q

Tom Gunning [early motion pictures as cinema of attractions]

A

“cinema of attractions” vs “primitive film”

spectacle vs. narrative style

exhibitionism vs. voyeurism

Direct address

Types of cinema

  • actualities
  • vaudeville “gag” films
  • trick films
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9
Q

Actualities

A

Lumieres brothers, topical actualities

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10
Q

Vaudeville

A

“the kiss”

Waterhose sketch and La glu

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11
Q

Trick Films

A

sketch, spectacle, special effects

“the Black Imp”

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12
Q

Trip to the Moon

A

George Melies, 1902

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13
Q

The spectator

A

-theoretical subject position, interpellated by the film text itself

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14
Q

Nickelodeon

A

1905-1913

  • first purpose-built movie theatres
  • “goldrush”
  • “converted storefronts
  • usually less than 200 seats
  • downtown entertainment districts
  • continuous presentation
  • had rapid decline
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15
Q

Moving Picture Palace

A

1910-1920s

hierachy of theatres is:
the supers, first run, neighborhood theatres and small own theatres.

architectural style is classic and fantasy
theres new amenities, respectability
orientalism as a style aesthetic

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16
Q

Neighbourhood theatres

A 
– Class-based communities
– Ethnic communities
• Segregation of Cinemas
• Eg. Mexican American Cinemas in LA
• Chinatown theatres in Vancouver
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17
Q

special interest theatres

A

newsreel theatres

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18
Q

Multiplex theatres

A

multiple screens in one establish. ie. cineplex

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19
Q

Chinatown Theatres in Vancouver

A

• Transnational model of Hong Kong Studios
– Shaw Theatre (1971)
– Golden Harvest (1974)
• New immigrants to Canada (Change to
immigration policy in 1967)
• Chinatown changing
• Emergence of “Chinese-Canadian” identity

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20
Q

Vertical Integration

A

the combination in one company of two or more stages of production normally operated by separate companies.

– Production
– Distribution
– Exhibition

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21
Q

The Big 5

A

Leow’s

MGM

Paramount

Fox

Warner Brothers

Radio Keith Oprheum {RKO}

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22
Q

Little 3

A

Columbia, United Artists, Universal

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23
Q

Studio system

A 
Factory system of production
– Studio sets, back lots
– Division of labour – specialization
– Contract stars
– Standardization
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24
Q

Block Booking

A

selling a unit of films to theatres: A couple big ticket and then B rated movies

25
Q

Leows and MGM

A 
• Loews Theatres buys studios
– 1919 Metro Pictures
– 1924 Goldwyn Pictures
– 1924 Mayer Pictures
• Focus on glamour and spectacle
– Ben Hur (1925)
– Lady Dancing (1933)
– Wizard of Oz (1939)
• Stars
– Jean Harlow, Clark Gable, Greta
26
Q

Consequences of the studio system

A

Genre, sound and star system

27
Q

Star system

A 
• Star contracts
– Up to 7 years
– Transformed actors image
– Controlled actor’s image – on and off screen
– Morality clauses, etc
• Created rigid hierarchy in Hollywood
– Contract stars vs character actors
– Exploitation (casting couch, etc
28
Q

Richard Dyer’s theory of stars

A

Richard Dyers star theory is the idea that icons and celebrities are manufactured by institutions for financial gain. represent myths and ideology

29
Q

Decline of Hollywood Studio System

A

• US Supreme Court: Paramount Decision (1948)
– Big 5 must divest themselves of theatre chains
– End of block booking
• Rise of independent production
• Distribution still controlled by Big 5 and Little 3
• Independent theatres have new access to
independent productions
• Competition from television

30
Q

Film studios in the 1950s and 1960s

A 
Reduce production
– ~500 features per year in 1930s
– ~150 features per year in 1960s
• Focus on big budget prestige films
– Appeal to more selective audiences
– Rely on marketing, stars, technology
• Technological innovation
– Technicolor, widescreen formats
31
Q

Gentleman Prefer Blondes

A

Howard Hawks, 1953

32
Q

Elements of a western

A 
Semantic Components
– Character, Setting, Costume, etc
– Cinematography
– Music
• Syntactical Relationships
– Narrative patterns
• Revenge
• Quest for justice
– Myths / ideologies
• Jim Kitses “Shifting Antimonies”
33
Q

Jim Kitses

A 
WILDERNESS
• Individual
• Nature
• West
CIVILIZATION
• Community
• Culture
• East
34
Q

Spaghetti westerns

A

westerns made in italy during 1960-1970

35
Q

Akira Kurosawa’s influence

A

Japanese film director and screenwriter, who directed 30 films in a career spanning 57 years. He is regarded as one of the most important and influential filmmakers in the history of cinema

• Magnificent Seven (1960) adapted from Seven Samurai (1954); A Fistful
of Dollars adapted from Yojimbo (1961); The Outrage (1964) adapted
from Rashomon (1950)

36
Q

Global industry in 1920s

A

– Bollywood, Japan, Singapore/Hong Kong (Shaw Brothers)
– Vertical integration, consolidation, etc

as well as

Notional cinemas [funded by public, and co-production] and Festival circuits

37
Q

Festival Circuit

A 
Venice (1932)
Cannes (1946)
Asian film fest (1969)
Toronto (1976)
Busan International Film Fest (1994)
38
Q

Festivals as alternative to studio System

A 
Exhibition
– Audience exposure
– International press
• Production
– Pitch Sessions
– Co-production, funding and investment
• Distribution:
– Marketplace
– national/regional distro deals, broadcast rights, etc
39
Q

Marlina The Murderer in Four Acts

A

Mouly Surya, 2017

40
Q

Nontheatrical Film

A 
– Defined by exhibition context
• Classroom
• Factory
• Church
• Library
• Army base
• Museum
• World’s Fair / Exhibitions
• Home
41
Q

Useful Cinema

A 
– Defined by audience and purpose
• Training
• Sales / promotion
• Education
• Persuasion / indoctrination
• Memory / bonding
42
Q

Types od Nontheatrical and Useful

A

Sponsored Film
– Educational Film
– Propaganda (government sponsored films)
– Home Movies / Amateur Film

43
Q

Sponsored film

A

a film made by a particular sponsor for a specific
purpose other than as a work of art: the films were
designed to serve a specific pragmatic purpose for a
limited time
• Estimated 400,000 sponsored films created in the US in
20th century
• advertisements, PSAs, special event films, cartoons,
newsreels and documentaries, training films,
organizational profiles, corporate reports, works
showcasing manufacturing processes and products, etc

YOUR NAME HERE, ACCURACY FIRST

44
Q

Jim Handy Organization

A 
Founded in 1911, Detroit, MI
• Produced training films for auto industry and
for the military in WWI
• 1923 - begins work for Chevrolet
• Other clients: GM, DuPont, RCA, Dow
Chemical, Xerox, IBM, etc
• Produced over 7000 films 1930-1968
Jam Handy Organization is vertically integrated
• Own distribution department
– “Handymen” – mobile exhibition units
• “Direct Mass Selling”
– Schools
– Clubs and Associations
– Factories, Industrial Organizations
– Theatres

MASTER HANDS (1936)

45
Q

Formalism

A

– Soviet montage, film aesthetics
– How the formal properties of film allowed for new
art forms

46
Q

Realism

A

– Andre Bazin, Siegfried Kracauer
– Focus on the ontological properties of cinema
– What makes film different from other media
• Film Realism: product of indexicality & duration

In the first instance, cinematic realism refers to the verisimilitude of a film to the believability of its characters and events. This realism is most evident in the classical Hollywood cinema. The second instance of cinematic realism takes as its starting point the camera’s mechanical reproduction of reality, and often ends up challenging the rules of Hollywood movie making.

47
Q

Critique of realism

A

– Ideological critique – the impression of reality

48
Q

Apparatus Theory

A

– Cinema is inherently ideological

– Not just the content of film but the mechanism itself

49
Q

Psychoanalytic Film Theory

A

– Voyeurism [the practice of gaining sexual pleasure from watching others when they are naked or engaged in sexual activity.]
– Identification [identifying with the character, not because of similarity but because we are designed to root for a protagonist and see ourselves as them.]
– Suture [
“Suture” refers to the processes by which we are “stitched into” the story-world, or “fabric,” of a film–the processes by which we are “drawn into” the film, taking up positions as “subjects-within-the-film” such that we experience the film]

50
Q

Jean-Louis Baudry, Apparatus Theory

A 
Camera
– Reproduces Renaissance perspective
– The viewing subject
• Projection
– Creates movement from static images
– Illusion of movement and freedom
• Theatre
– Darkened room
– Spectator is immobilized
• Ideology
– The purpose of the apparatus is to make itself invisible
– Film realism is the illusion of reality
– Ideology within narrative film appears natural

“In such a way, the cinematic apparatus conceals its work and imposes an idealist ideology, rather than producing critical awareness in a spectator.”

51
Q

Voyeurism

A

pleasure taken in subjecting the Other to a
controlling and curious gaze (Sigmund Freud)
• begins in childhood and the desire for
knowledge about the Other (esp. penis)
• can become a perversion
• cinema indulges the voyeuristic fantasy by
creating the illusion of looking in on a private
world

52
Q

Idnetification

A

product of “narcissistic scopophilia” - a
fascination with likeness and recognition
• Jacques Lacan’s “mirror phase” - looking key
to subjectivity
• in cinema, the spectator identifies with the
other on screen as an idealized subjectivity
• Identification occurs through suture.

53
Q

Suture

A

The techniques used by film to make us forget
the camera that is really doing the looking
• Collapses cinema’s 3 forms of looking:
1. that of the camera as it records the profilmic event
2. that of the audience as it watches the final product
3. and, that of the characters at each other within the
screen illusion
• Allows the audience to align their looking with
that of one or more characters – Identification

54
Q

Laura Mulvey, “Visual Pleasure and

Narrative Cinema” (1975)

A
  • Political use of psychoanalysis
  • Drawing on Freud and Lacan
  • Analyze the patriarchal status quo in cinema
55
Q

Theories of documentary

A 
Dziga Vertov
“Life caught unawares”
• Kino-Pravda
• Man With a Movie Camera (1929)
• John Grierson
“The creative treatment of actuality”
• John Grierson, The Drifters (1929)
• National Film Board of Canada (1939)
• Cinema Verité / Direct Cinema
Observational mode
• Robert Drew, Primary (1960)
• Michel Brault & Gilles Groulx, Les Raquetteurs (1958)
56
Q

National Film Board of Canada

A 
Founded in 1939 by John Grierson
• World War Two – documentary series
– World in Action, Canada Carries On
– Churchill’s Island (1941)
• 1950s / 1960s - Cinema Verité / Direct Cinema
– Michel Brault, Gilles Groulx, Pierre Perrault
• 1967 – Challenge for Change
– promote participatory democracy
– Indian Film crew (1968)
– Studio D – Women’s film unit (1974)
57
Q

Cinema Verité / Direct Cinema

A

Observational style (fly on the wall)
• Hand-held cameras - live, synchronous sound
• Little/no narration (reject Voice of God narration)
• Idea that the camera could apprehend the world
directly – revealing the truth beyond surface
• Examples:
• Robert Drew, Primary (1960)
• Michel Brault & Gilles Groulx, Les Raquetteurs (1958

58
Q

Indian Film Crew (1968)

A

• Indian Film Crew (1968)
– Barbara Wilson (Haida), Tom O’Connor (Manitoulin
Island), Noel Starblanket (Cree), Roy Daniels (Ojibwa),
Morris Isaac (Restigouche), Willie Dunn (Micmac), and
Michael Kanentakeron Mitchell (Mohawk)
– Opportunity to present an Indigenous viewpoint
– Use direct cinema to document Indigenous views and
culturally distinct ways of preserving and transmitting
these histories
– You Are On Indian Land (Michael Kanentakeron Mitchell,
1969)

59
Q

Alanis Obomsawin (Abenaki)

A

• First Indigenous filmmaker on staff at NFB
• Began career as musician and educator
• Draws on oral traditions in filmmaking
– Intimacy of audio interview
– Give voice to marginalized communities
• Christmas at Moose Factory (1971)
• Kanehsatake: 270 Years of Resistance (1991)

Cinema 135 (2 decks)

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